Wednesday, 31 August 2016

This
record is a fine debut and places the band amongst the retro rock/doom/metal scene
but shows that they have a unique sound and approach. If you have been enjoying
bands such as Demon Eye, R.I.P, Uncle Acid, Satans Satyrs, Electric Citizen and
so on, well, Shadow Witch are better then some of them and can mix it with the
best of them!

This
Kingston, New
York group are only a year or so old, but they
sound... much older. Coming on as a mixture between The Doors, Black Sabbath, stoner rock and
even trad metal, these guys lay down some fearsome grooves and bring a laid
back vibe to even the more frenetic tracks (such as the title track). From the
opener, “(D.O.A) Anticipation”, you
know what you are getting; grooves, doomy vibes and some weighty riffs all
wrapped up in a distinctly American package.

There
are some tracks which take on a mournful aspect such as “Wreckage”, while “Blitzkrieg”
has a distinctly metallic flavour (circa 1980). Truthfully a couple of tracks
are just grooves and there are some overlong intros which break up the flow a
little, but overall the record is one of quality with aspects such as the use
of keyboards for atmosphere, lifting it above a lot of the retro rock out there
at the moment. The intro of “Creeper”
exemplifies the aspects of the record I did not enjoy so much, but then the
keyboards lift it and the band really kick in and it is fantastic.

Over
the eleven tracks, the band are consistent with song lengths (the
aforementioned “Creeper” is a little
longer) and venture into thematic realms not often covered by po-faced bands of
the retro rock genre; Tolkien-esque whimsy does not abound on tracks such as “Snout”- which is a very dirty ditty
indeed.More traditionally metallic
sounds and themes are present for “Headless
Army” and the record has gathered a fine head of steam by that point.

For
the closing stretch, there is a mixture of psychedlic sounds (“Lamp Light”), groove based desert style
rock (the band's theme song) and the raucously rocking finale of “Occupy”. This record is a fine debut
and places the band amongst the retro rock/doom/metal scene but shows that they
have a unique sound and approach. If you have been enjoying bands such as Demon Eye,
R.I.P, Uncle Acid, Satans Satyrs, Electric Citizen and so on,
well, Shadow
Witch are better then some of them and can mix it with the best of
them!

As modern torchbearers in the dark halls of heavy
metal, Northern Crown pays homage to
doom bands of the past but don’t let the old ways define them.The band’s first release, 2014’s “In The Hands of The Betrayer”,featured five intense pieces ranging from four to twelve minutes in length.
Covering the emotions of retribution, shock, outrage, and despair, the EP is
full of twists and turns, with the lengthy closer “To Thee I Give an Orchid”
delivering the modus operandi of the band, earning special recognition in each
review it received.

2 years later, Northern
Crown, who hail from Fort Lauderdale, Florida are back with their
debut full length, entitled “The
Others”, whichsees the band stretching themselves and pushing
the boundaries of their own sound, and in turn taking a less rigid approach to
the genre. Vocalist/guitarist Frank
Serafine notes, “we know what we’re good at now, and focused more on bringing out those
performances from each other.”

With the vocals of Serafine invoking a heady blend of influence from such
luminaries, as Ronnie James Dio, Rob Halford, Roy Khan,
and Jorn Lande, Northern Crown also welcomed back founding
member Leona Hayward to the fold, rounding out the rhythm section with a heavy Steve
Harris/Geezer Butler-inspired attack.

Main songwriter and guitarist Zachary Randall notes that “this is easily the most personal
art I've ever created, both musically and lyrically.” Indeed it is this
care and attention to detail that has contributed to the creation of a more
refined release, one of real character and vision.

“The
Others”will be released on October 14th
and today we can debut the stunning track “With
Malicious Eye” for your listening pleasure.

“The Others” track listing

1. With Malicious Eye
2. Surreality (The Tell-Tale Mind)
3. No One Came to Mourn Me
4. Apostate
5. A Pox Upon Your House
6. Les Autres

Tuesday, 30 August 2016

Sounding
like a seismic shift, 'Swans' instantly obliterates everything. The riffs
slowly and mercilessly attack the central nervous system while the vocals
suffocate and strangle.At the tail end
of this EP comes the even more epic and gigantic 'Ruins', if you can imagine
Andy Dufregne's escape in ' The Shawshank Redemption'; slow, filthy, dark,
foreboding, this track is the embodiment of it.Body Void have set the bench mark pretty damn high now, surely they will
follow this up with something truly amazing.

‘Ruins’ CS//CD//DD
track listing:

1).
Swans

2).
Erased

3).
Monolith

4).
Ruins

The Review:

Damn
it feels good to be a Sludgelord; especially when tasty slabs of sonic
mass come hurtling towards your face! I'll admit, I'd never heard of Body Void
or their previous incarnation; Devoid but man, 'Ruins' their 1st EP has certainly left a lingering taste!

Sounding
like a seismic shift, 'Swans'
instantly obliterates everything. The riffs slowly and mercilessly attack the
central nervous system while the vocals suffocate and strangle. The guitars are
lacking a little weight behind them that would make the force of each strum
that much greater but it still packs enough grit to cause plenty of earaches.

'Erased' has a slightly faster,
crustier opening but slows into some truly blood curdling doom! The titanic 'Monolith' is rather eponymous;
standing, solemnly amidst the shrieking vocals and feedback are riffs that
are...well, monolithic! The crusty part at the songs midsection is well placed
and very welcome amongst the huge distorted slabs of blackened doom. At the
tail end of this EP comes the even more epic and gigantic 'Ruins', if you can imagine Andy Dufregne's escape in ' The Shawshank Redemption'; slow,
filthy, dark, foreboding, this track is the embodiment of it. Despite being 16
minutes of slow, torturous doom, it still has plenty of twists to keep your
attention.

Body Void have set the bench mark
pretty damn high now, surely they will follow this up with something truly
amazing.

Monday, 29 August 2016

Implore has
toured restlessly since the release of their first LP “Depopulation” review here (Pelagic Records 2015) with
more than 100 shows performed in Europe and Russia increasing this trios
reputation and making the underground scene sit up and take notice

On
September 11th, Implore will release a new 7” called “Thanatos”, named after the Greek mythology
demon, which is the personification of the death. In addition before the end of
the year, the band will tour South America for the very first time, visiting
Brazil, Uruguay, Argentina, Chile and Ecuador. A month long tour that will undoubtedly
help increase their followers with South America having one of the most loyal and passionate audiences
in the world.

New
guitar player Petro Manel commented upon their forthcoming release

“Thanatos
is like a deep breath of fresh air for Implore's sound. It keeps the essence of the brutality in “Depopulation”
adding some new details that bring the songs to a new level. The five tracks in
this new EP are full of anger and hate, experimenting with new structures,
riffs, and vocal lines, keeping the straight-to-the-point philosophy that makes
this new 7" a short and intense one”.

So if you’re a fan of Napalm Death, Nasum,
Black Breath, you will certainly not wanna miss this release via Wooaaargh which you can preorder here. You can also check out thetrack “Disgrace”
which are streaming in full below

When the very mention
of the following bands Slomatics,
The Obsessed, Keeper are muttered, it
is undoubtedly going to pique your interest, therefore when two bands harness
those influences in their own compositions and are pitted together to slug out in an aural death match, you’re going to want to hear this titanic mass. On September 16th
2016, Heavy Earth Records will release the new
split record from Mares of Diomedes and Dreich, and this release is bone rattling doom that is on par with the
best in the genre. Consisting of two tracks from Irish duo Mares of Diomedes
and three tracks from the juggernaut known as Dreich,
this split album is definitely a must-have purchase for anyone into doom, fuzz
or sludge metal.

Mares of Diomedes
are a two piece from Ireland consisting of two brothers who started the band in
2014 and released their first self-titled EP; through Heavy Earth Records in
early 2015. They toured Europe earlier this year and have taken a break from
gigs to focus on writing their debut album. On the flip side, the entity known
as Dreich formed in Copenhagen in 2015 but are
from different corners of the globe. Although the band is relatively new, they
have already shared the stage with heavy hitters such as Mantar
and Dopethrone. The split with Mares of Diomedes is the band's first recorded output.

The focus of today’s exclusive is a track by Mares of Diomedes and the title “Earth Destroyer” couldn’t be more apt, as the following nine
minutes, is simply seismic. Prepare the
ground, because this track is gonna cause ripples. Pre-order the album on cassette, vinyl or
digital formats here

I also hooked up with Jordan Campbell from Mares of Diomedes for a short, yet on point interview which
you can also check out below.

SL:
Can you give us an insight into how you started playing music, leading up to
the formation of Mares of
Diomedes

Jordan:
My brother Shea and I grew up together in Ireland and when we were teenagers I
think we followed the typical path of starting off listening to rock music,
followed by seeking out progressively heavier and heavier forms of music to
play air guitar to, while intermittently beating each other up. Around that
time we had an uncle who played guitar and when we went over to his house he
would teach us to play the starting riff from Deep Purple's
“Smoke on the Water”, on an old Vox
electric guitar he had. The first time I played that riff through an amplifier I
knew that I wanted to play guitar.

Soon
after, that the same uncle gave us an acoustic and a Vox electric guitar (which
is still my main guitar!). Shea became really proficient on the guitar
very quickly, at which point it made sense for me to buy a drum kit. Over
the following years we weaved between different genres of music but never
really coincided on the same thing at the same time as each other. We
played in separate bands (rock, metal, punk etc.) up until a couple
of years ago when we finally decided to start a band together which became Mares of Diomedes. We had both learnt to play the guitar
and drums, but in the end the best dynamic for both of us playing together
turned out to be me playing the guitar and Shea playing the drums.

SL:
For folks unfamiliar with your band, are there any bands, on the scene past and
present that you would use as a reference point to describe your band, and who
continue to inspire you and push you to try new things?

Jordan:
It’s always a difficult question as we are influenced by a wide variety of
music from different places. Both Shea and I have quite different tastes in
music but one area that our tastes do tend to converge a bit is in doom and
sludge. Some stuff that we are into (but that we don't necessarily sound like!)
- Ictus, Pallbearer, Morne, Kongh, Samothrace,
Church of Misery, Celtic Frost. We are
constantly inspired by the other bands around us as well. Throughout all the
gigs that we have played before Mares of Diomedes and
since forming we have come across a lot of really cool bands. While on tour in
Europe we played quite a few gigs with a band called Lost Pagan
who we had never heard of before. They completely blew us away with their live
show. I picked up their album on vinyl over there and I have been listening to
it a lot since then. Also from touring we have come across other bands like Link and Geranium who are doing
good things.

There
are also many awesome heavy bands in Ireland at the moment, like Venus Sleeps(also on Heavy Earth Records), Subordinate, Slomatics, Nomadic Rituals, Tome, Graveyard Dirt, Harvester and Tusks. There are also a few really good labels in Ireland
that release a lot of stuff we are into, like Chainbreaker Records,
Distro-y and Freak Flag Recordings.
There is an abundance of great stuff to be inspired by every day.

SL:
What can you tell us about your upcoming record and where do you feel it sits
within the context current music scene?

Jordan:
The upcoming record is a split with another band from Copenhagen called Dreich. We had been searching around for someone that would
have suited the split musically, as well as having the same ethos as us as a
band. Shea came across a live recording of theirs through some contacts of his
in the DIY scene and just based off that we thought they would be a great fit.
Luckily they were sitting on some tracks already that they were just finishing
recording at the time. Once we heard them we knew
we definitely wanted them to be a part of the release as their tracks
absolutely crush. From our perspective, the tracks from our side of the split
are a progression from our first EP, in terms of both the song writing and the
tone. It’s definitely the heaviest thing that we have recorded to
date.

SL:
How was the mood in the camp going into the recording of the record?

We
love the whole process of recording so every time we go into the studio it’s
always with a great deal of excitement and anticipation. We hadn't recorded
with Niall at Start Together before, but we had heard a lot of good things
based on the work that he had done with other bands like Nomadic Rituals
and Slomatics. Since recording our debut EP I
had been improving my guitar rig set-up based on what was working or wasn't
working well at our shows. By the time it came to recording the split I
had a completely new guitar set up compared to what I used on the EP, so we
knew that the outcome at the end was going to be a lot different. Niall is the
man when it comes to recording heavy music and I think that coupled with the
progression we had made ourselves as a band, it resulted in a much heavier
record.

SL:
What can fans look forward to from you over the next 12 months? How is your
schedule shaping up?

Jordan: We
have a tour planned in the Ireland/UK at the end of year which we will be
confirming soon. Apart from that, our main objective at the moment is to continue
working on our debut album which we are in the middle of writing. We have a few
songs down for it and we will be using any time we have this year to finish it
before booking any new tours/gigs. Shea will also be on tour in Europe
with his other band Absolutist during
September. Early next year we plan to get out on tour in Europe again,
hopefully doing a run of shows along with Dreich as well.

Saturday, 27 August 2016

We’re always in the mood for new stoner doom
bands at The Sludgelord and today is no different, Haunted worship at the
altar of the godfathers of doom Black Sabbath and latter
day retro saints Witchcraft. Forged in Catania in 2015, what came out in
the wash was with their s(low) sub-sabbathian dirge.

Now these five banshees are set to release their
first full-length LP “Haunted” via Twin Earth Records on 31August 2016 and today we’re
premiering their new video “Watchtower” which you can check out below. Hail
satan, worship doom! “Haunted”
is available on 12" 140g color-in-color (Purple inside cloudy-clear),
black vinyl and CD. Pre orders are up here

Friday, 26 August 2016

Montreal
blackened doom Éohum(pronounced
ee-o-um) have teamed up us at The Sludgelord for the
premeire of their video 'Eurocide' directed by Chris Kells of The Agonist and his film company FTB Visuals.

"I
believe this video clearly depicts the message and ideas behind Éohum. The
music and concept of this project are well demonstrated. We are truly honored
as the quality, location and mix are awesome."comments band
founder / guitarist Jeremy Perkins.

'Eurocide' is off Éohum's latest EP 'Ealdfaeder' released
during March 2016 via founder/guitarist Jeremy Perkins' indie label Mycelium Networks and was produced with Chris
Donaldson of Cryptopsy at The Grid along with a
special guest recording from drummer Simon Mackay (The Agonist)
on tracks 2-4-5 tofollow up their debut album 'Revelations, Aurora Of An Epoch'. Lyrically
the EP is inspired by poems written by Perkins on the loss of culture and
tradition due to greed and colonization across the globe.

In 2013 Toronto’s Hammerhands’ released an undeniable powerhouse of a record.
The band’s debut full length “Glaciers”
exhibited Hammerhands’ sonic dominance in a submissive
scene. The band continued to turn heads, playing numerous shows, proving to
their growing audience that men of average height can create giant sound. Hammerhands subsequently released a cover EP called “1995” which paid tribute to the year
that the band’s initial spark of musical inspiration occurred.

Despite “1995” being an entertaining and
engaging love letter to the past, it was not enough to fill the chasm of
anticipation created by the release of “Glaciers”.
After three years of waiting for new material, Hammerhands
is releasing their second full length “Largo Forte”. “Largo Forte”
is a huge step forward for the band without departing from the elements that
define Hammerhands. The record often digresses to
unsettling nods to Italian genre film scores and Cohen-esque vocal styles,
juxtaposing crushing jams with cinematic atmosphere. Hammerhands
establishes an auditory narrative with “Largo
Forte” that takes you on a fulfilling journey that is both beautiful and
blasphemous. With “Largo Forte”, the
future of Hammerhands seems promising. The band’s
off-kilter approach to their distinct style creates a new dimension to their
musical canon. As the band continue to push themselves down the road of
devastation, one can only be curious as to how they will top something so bold
and interesting.

“Largo Forte” will be released
on September 15th and today we offer you the first taste of this exceptionally
bludgeoning new record, in the form of “Thunderchunk”. We also hooked up with Collin from the band to
get the low down about their history, the recording process of the record and
why they sound like “a Converge record played
at half speed"”.

SL: Can you give
us an insight into how you started playing music, leading up to the formation
of Hammerhands

Collin: Jon and I
started playing together as 13 year olds, and went through various terrible
musical phases until forming The Love and Terror Cult
like ten years ago. We ended up playing a lot with NJ's bands Dance Electric and Strawman Fallacy. For
some reason, all those bands seemed to dissolve around the same time, so it
seemed natural to join forces. Our previous bands were all spastic and
hyperactive, so we made a conscious effort to go in the opposite direction. We
recruited Justin because he's awesome and always moshed the hardest at our
shows.

SL: For folks
unfamiliar with your band, are there any bands, on the scene past and present
that you would use as a reference point band to describe your band, and is
there anyone who continues to inspire
you and push you to try new things?

Collin: A review of
our previous record said we sounded like "a Converge record played at half speed" and I've always liked that
description. I think The Melvins have been a
strong influence for some time, but they're kinda like The Beatles
of sludge, and any band within the genre owes some debt to them really. Some
bands within our scene that we take inspiration from are Godstopper,
who we frequently have the pleasure of sharing the stage with, and Mare who we used to play with in our older bands and in
many ways inspired us to start doing what we do now.

SL: What can you
tell us about your upcoming record and where do you feel it sits within the
context of current heavy music scene

Collin: What I'm
hoping will come across with this new record is a sense of diversity. While I
love the idea of extreme music pushing things to the limit, I find too often
that bands of our genre will get stuck on a particular sound then ride it out
until it's exhausted. We tried to take this record in as many different
directions as we could while still maintaining a common thread.

SL: What was the
mood in the camp going into the recording of the record

Collin: It's been
overall a pretty relaxed process. We don't have any deadlines to meet, and we
do all the recording and mixing ourselves, so we've always been able to work at
a pace that's comfortable for us. We took our time writing the songs until we
were confident that we had something solid, and we took the time working on the
tracking, mixing and mastering until we felt it sounded good. And we've ended
up with something we're all quite happy with.

SL: What can
fans look forward to from you over the next 12 months? How is your schedule
shaping up?

Collin: No immediate
plans just yet. Looking forward to being able to break out the new tracks at
gigs and seeing how they're received. We'd like to eventually put the record on
wax, so if anyone would like to help us out with that, hit us up, please!

Hammerhandswill play a release show on September 16th in Toronto with Godstopper
and Foreigns.

Splits
are always a great time, but when you have the Likes of the sonic muck makers Black Tar
Prophet on one, you must cleanse the soul for what's to come oozing
from your speakers. BTP have been dragging fans into a sludge
infested quagmire for a while now, and when paired with funereal Iron Gavel,
thou shalt not leave unmarked.

Kicking
the piece off, Black
Tar Prophet lets loose the malignancy with their harsh, throbbing
brand of sludge, with the track “Malignant”.
Throughout their half of the split (4 songs, #1-4), it's like listening to
cancer grow, an almost bulbous sound generated by their nothing-but-low-end
approach, as it just slowly grows from one song to the next.The soundbites are religious, anxious, full
of nothing but bad vibes; and their music is the sonorous black velvet curtain
behind the show. They only stray from slow trudging at the end of “Ruinous Decay” and the aptly titled “Abuse”, going faster and more violent
throughout the latter, and towards the last minute more groove oriented on the
former, respectively. And for the record, BTP makes 3 minute songs feel like a whole
album.

And
after that punishing journey, Iron Gavel gives us some simple midnight oil
stained doom, spread across the remaining 3 tracks. They have a more traditional
feel in the doom/sludge area, closer to an Electric Wizard type sound but with a more
bass heavy tone; hard to explain until you pick this one up. Opening with
thunderous “Teeth/Thorn”,Iron Gavel
riffs like a giant striding across distant lands, shaking everything around
with its mighty steps. They utilize effects well, giving a spacey vibe and
large sound to the track, and then busting out some truly fun riffage with
distortion and some phase. “Shroud”
follows suit, keeping that deep, muddy distortion tone, but is much faster, and
so much shorter at 1:31. Fun track to just jam out to. They end with “Germ”, another long song at a little
over 6 minutes, and just as full of fuzzy goodness! These guys fill rooms with a
sound large enough to blacken the lights, if this split is any to go by.

If
you're a fan of doom/sludge bands with no vocals and nothing else other than
pure volume from their amps, these two bands will delight you! Treat yourself
to one of the most even matched records of the year, and prepare to feel a
beating in your ear canal as we offer you the full and exclusive stream of the whole
split below.

Wednesday, 24 August 2016

With
much of 2015 spent cooped up in writing sessions and locked behind studio
doors, Arizona thrash troupe Vektorwere
always going to spread their wings in 2016, and with an army of blisteringly
progressive and technical, gilt-edged songs now adorning their arsenal, it is
no surprise they chose to smash through ‘Terminal Redux’ in its entirety
during this mini UK tour. And what an album it is. Sprinkled with some form of
pixie dust, or perhaps bolstered by main man David DiSanto bargaining away his
soul in some form of Robert Johnson type deal with the devil, however they have
crafted this album, it has thrust them into the heart of extreme metal’s war
cabinet.

From
shrill vocal shrieks to cannoning drum work and lusciously defined twin guitar
attacks, here is a record that has a sickening amount of tricks up its sleeve.
As, one by one, they give each trick– such as the sombre openings of ‘Cygnus
Terminal’, which morphs into a stomping beast of a song to the dextrous,
tapped guitar playing of its successor ‘LCD (Liquid Crystal Disease)’ –
they always remain engaging and entertaining. While many modern thrash bands
have the tendency to fall into a clichéd formulaic reiteration of the 80s
classics, Vektor prove to be much
more than just a thrash band
and here they parade their rich, coloured plumage before a sweat box of a room.

The
dingy old pub of The Star & Garter,
which nestles just a stone’s throw away from Piccadilly Train Station’s
bustling taxi rank, is the most fitting place for music as nasty and visceral
as this to mark its territory tonight. As the sky – barely visible through a
grubby window at the back of the stage – slowly darkens, and as the block of
flats whose figure cuts a striking silhouette upon it slowly becomes
illuminated, the temperature becomes increasingly stifling. You sweat, you swig
your beers quicker and you cheer even louder. The bludgeoning mess that is
playing out before you, even with the PA sometimes struggling to handle the
sheer attack of it all, is reciprocated in a packed-together crowd; one
detailed by battle jackets and bobbing heads.

Though,
as boisterous as this music is, it is always tactful in its chaotic expulsion.
The whiplash pace of ‘Ultimate Artificer’, one of the more out-and-out
thrash numbers, is well received alongside ‘Pillars of Sand’, a more
epic sprawling song mercilessly pocked with musical plot-twists and side
stories. Extreme their music may be, but thoughtless it is not.

Tonight
the band seems in complete sync with each other. As they bombard their
instruments they do so smiling, performing with a harmonious pleasure which
truly crowns their set. They make the 73 minutes of the album’s lifespan seem
much less – though dense with character and awe-inspiring moments – and that is
testament to both their song writing and performing abilities.

“Paradise Gallows” is a monstrous monument to Inter Arma’s
colossal ambition that captivates for every second of its mammoth 70 minute
duration. Few other bands blur the boundaries between genres as effortlessly
while still delivering songs of this quality.

There have
been some epic records released so far in 2016 but nothing as mind-bogglingly
huge as Inter
Arma’s “Paradise Gallows”. The Virginia quintet’s new LP is a vast voyage
on a galactic scale across the spectrum of heavy music.

“Nomini”
opens the record in subdued fashion. Soaring lead guitar lines ride above
spacious acoustic guitar to create a haunting nocturnal atmosphere reminiscent
of Pallbearer’s
“Sorrow & Extinction”. The track
fades out only to return later in “Potomac”, the album’s centrepiece. Organ and piano
join the fray to elevate the song into a grandiose slab of raw classic rock.

Elsewhere on
“Paradise Gallows”, Inter Arma
take their music to entirely different places. There are abrupt shifts in sound
and style from track to track that sometimes make you wonder if you are
listening to an entirely different band. Sudden changes like this can be
jarring and result in an uneven listening experience, but they only enhance “Paradise Gallows”. Every track on this
record feels meticulously crafted and sequenced to be the logical next step in
this bizarre journey into the unknown.

The relative
calm of “Nomini” is destroyed by the
onslaught of “An Archer in the Emptiness”
and “Transfiguration”. Both tracks
are epic fusions of lumbering sludge riffs, death metal intensity and insane
drumming forged in a cauldron of cavernous reverb. Imagine listening to Mastodon’s
“Remission” in an echo chamber with
all elements apart from the drums slowed down to half-speed and you won’t be
disappointed. The band hone this progressive approach to perfection for “Violent Constellations”, ramping up the
complexity even higher with restless, spidery guitar work.

“Primordial Wound” and “The Summer Drones” see the band focus
on relentless repetition of minimal one chord riffs. The hypnotic pull of these
riffs increases with each iteration, weighty slabs of doom that draw the
listener ever deeper into psychedelic oblivion.

Not content
with having covered these bases, Inter Arma contribute a couple of contrasting
ballads. The massive title track is a rumbling, Neurosis-style dirge split
between passages of hushed, dustbowl soundscapes and explosions of crushing,
spaced-out doom.“Where the Earth Meets the Sky” is a different proposition, a sparse
acoustic close to the record that provides a suitably powerful yet understated
conclusion.

“Paradise Gallows” is a monstrous monument to Inter Arma’s
colossal ambition that captivates for every second of its mammoth 70 minute
duration. Few other bands blur the boundaries between genres as effortlessly
while still delivering songs of this quality.

Band Submissions

To those bands who have recently issued their first demo or album via bandcamp and would like to be featured on our 666 Pack Review or considered for a full review or stream please contact Aaron via email including your EPK, band bio, album file or download code, including artwork.

To those bands issuing their sophomore record and so on and would like to be considered for a review or stream on the blog. Get in touch using the same address above

We will consider bands from any genre but exclusively stoner, sludge, doom, psych, post-metal, experimental, black-metal etc. (Whilst I would like to respond to every email, this is not always possible.) Thanks